SKU: BT.DHP-1135413-140

9x12 inches. English-German-French-Dutch.

This opening piece was commissioned by a youth orchestra, which explains why it has such a lot of dynamism, energy and optimism. However, it begins in a stately and noble fashion, in the lower range of the wind orchestra. Soon the rhythmical drive takes over, imbuing this piece with a vibrant and energetic character. Some lovely melodic lines and themes are also integrated within this fast section. Wind music in Croatia is developing apace as more and more ensembles are excited by the next generation of composers finding so much success worldwide. For this reason, the Vatroslav Lisinski Music School commissioned this short but effective piece from Jan Van der Roost. The premièretook place in Zagreb on April 24 2013, conducted by Mario Komazin.

Dit openingswerk is geschreven in opdracht van een jeugdorkest, wat verklaart waarom het zoveel dynamiek, energie en optimisme ademt. Het begint echter op plechtige en statige wijze - in het lage blazersregister. Al snel krijgt de muziek een steeds ritmischer karakter en wordt ze levendiger en vitaler van sfeer. In dit snelle gedeelte zijn ook verschillende mooie melodielijnen en thema’s verwerkt. Het genre blaasmuziek is in Kroatië sterk in opkomst, en meer en meer ensembles zijn enthousiast over de volgende generatie jonge musici die wereldwijd zoveel succes hebben. Tegen die achtergrond heeft de Vatroslav Lisinski Music School de Belgische componist Jan Van der Roost verzochtdit korte maar effectvolle werk te schrijven. De première vond op 24 april 2013 plaats in Zagreb, onder leiding van dirigent Mario Komazin.

Dieses Eröffnungswerk wurde im Auftrag eines Jugendblasorchesters geschrieben, was erklärt, warum es so viel Dynamik, Energie und Optimismus ausstrahlt. Es beginnt jedoch feierlich und würdevoll - in den tiefen Bläsern. Schon bald wird der Charakter der Musik immer rhythmischer und lebendiger und die Stimmung wechselt ins Lebhafte. In diesem schnellen Teil sind auch verschiedene schöne Melodielinien und Themen verarbeitet. Das Genre Blasmusik ist in Kroatien stark im Kommen und immer mehr Ensembles zeigen sich begeistert von der jungen Komponistengeneration, die weltweit so erfolgreich ist. Vor diesem Hintergrund bat die Vatroslav Lisinski Musikschule den belgischenKomponisten Jan Van der Roost, dieses kurze, aber wirkungsvolle Werk zu schreiben. Die Premiere fand am 24. April 2013 in Zagreb unter der Leitung von Dirigent Mario Komazin statt.

Cette pièce d’ouverture est une commande d’un orchestre de jeunes, ce qui explique pourquoi elle est de nature aussi dynamique, énergique et optimiste. Elle débute cependant dans un esprit noble et majestueux, dans le registre grave de l’orchestre. Bientôt la pulsion rythmique prend le dessus, conférant la musique un climat plein de force et de vitalité. D’agréables thèmes et lignes mélodiques sont également intégrés ce passage rapide. En Croatie, la musique pour orchestres vent se développe rapidement et le succès mondial d’une nouvelle génération de compositeurs fascine un nombre grandissant de formations. C’est pour cela que l’École de Musique Vatroslav Lisinski acommandé cette pièce courte mais efficace Jan Van der Roost. Elle a été créée le 24 avril 2013 Zagreb sous la direction de Mario Komazin.

SKU: BT.EMBZ20017A

English-German-Hungarian.

In 1845 Franz Liszt embarked on a project to compose an Italian opera based on Lord Byron’s tragedy, Sardanapalus (1821). It was central to his ambition to attain status as a major European composer, with premieres variously planned for Milan, Vienna, Paris and London. But he abandoned it half way through, and the music he completed has lain silently for 170 years.
Liszt’s difficulty in obtaining a libretto meant that composition only began in April 1850. He completed virtually all the music for Act 1 in an annotated piano-vocal score of 111 pages, contained within his N4 music ‘sketch book’. The unnamed librettist was an Italian poet and political prisoner, seemingly living under house arrest, and a close acquaintance of Cristina Belgiojoso. His libretto survives as underlay in the N4 sketchbook and has been critically reconstructed and translated.
Sardanapalo is Liszt’s only mature opera. While he consistently referred to it in French, as Sardanapale, the published title of the Italian opera would almost certainly have used the Italian name, hence this forms the title of the first edition. There are three solo roles and a chorus of concubines. The manuscript was previously thought to be fragmentary and partially illegible, but it was finally deciphered to international acclaim in March 2017. Liszt’s score offers a richly melodic style, with elements from Bellini and Verdi alongside glimmers of Wagner and the symphonic poems ahead: a unique mixture of Italianate pastiche and mid-century harmonic innovation. It remains quintessentially Lisztian. The opera sets Byron’s tragedy about war and peace in ancient Assyria: the last King, effeminate in his tastes, is drawn to wine, concubines and feasts more than politics and war: his subjects find him dishonourable (a ‘man queen’) and military rebels seek to overthrow him, but are pardoned, for the King rejects the ‘deceit of glory’ built on others’ suffering: this leads only to a larger uprising, the Euphrates floods its banks, destroying the castle’s main defensive wall, and defeat is inevitable: the King sends his family away and orders that he be burned alive with his lover, amid scents and spices in a grand inferno. As Byron put it: ‘not a mere pillar formed of cloud and flame, but a light to lessen ages.’ For his part, Liszt told a friend that his finale ‘will even aim to set fire to the entire audience!’
This critical edition includes a detailed study on the genesis of Liszt’s Sardanapalo in English, German, and Hungarian, the libretto in the original Italian as well as in English, German, and Hungarian translation, several facsimile pages of Liszt’s manuscript, and a detailed Critical Report.